What is music education for?

Making the case for music in

schools

Professor Stephanie Pitts

Department of Music, University of Sheffield
s.e.pitts@Sheffield.ac.uk
 Overview
• What is claimed for music education?
• Why do we need to make the case – and who is listening (or not)?
• Some thoughts on musical life histories and identities
• A case study from three infant schools in Sheffield
• Some conclusions
• Questions and discussion
Claims made for music education
Music for the cultivation of creative
citizens:
“If by our manner of education we can
cultivate and develop the inner nature of
our citizens, we will be raising up a nation
full of vitality, striving after ideals, and
ever pressing on to higher and higher
stages. Even the weariness of life, which
is felt so deeply by many of us, will
disappear with our new ideals, for the art
of music will give the means for self
expression, and will provide a new
interest in life.”
(Yorke Trotter, The Making of Musicians, 1914)
100 years of advocacy
Music for wellbeing and school
engagement:
“Musical activities can lead to a sense of
accomplishment, enhanced
determination and persistence and of
children being better able to cope with
anger and express their emotions more
effectively. There are also reported
benefits in terms of discipline, time
management, relaxation, coping with
difficulties, communication, and the
ability to work with others.”
(Susan Hallam, The Power of Music, 2015)
 More on the ‘transferable skills’ argument
• ‘Mozart Effect’ captured media attention and turned into big
business … but clinically proven effects are small and
transitory
• Extra-curricular participation is linked with increased school
engagement and higher attainment … but can be partly
explained by parental support and teacher expectations
• Background music might improve classroom behaviour …
but that isn’t music teaching
• Music needs to be part of the school curriculum for its own
sake – accessible to all children, but not necessarily having
the same effects for everyone
Doubts and disinterest in music education
Music for appreciation rather than
skill:
“The aim of music teaching
considered as part of a school
curriculum should be rather the
cultivation of a taste than the
acquirement of a proficiency; it
should lay the foundation for the
intelligent study and enjoyment of
music in after life.”
(UK Board of Education, 1926)
100 years of progress?
Arts limit opportunities and
employability:
“If you didn’t know what you wanted to
do … then the arts and the humanities
were what you chose because they were
useful, we were told, for all kinds of jobs
[…] We now know that this couldn’t be
further from the truth. That the subjects
to keep young people’s options open are
STEM subjects – science, technology,
engineering and maths.”
(Nicky Morgan, UK education secretary, November
2014)
So what is music education for?
• Need to be looking for evidence not (only) in league tables, A Level
results, numbers of music students in higher education
• Impact is seen everywhere (but not always noticed) in uses of music
amongst general population – spectrum of involvement/expertise:
• small numbers of professional musicians
• larger numbers of amateur musicians
• live music listeners
• recorded music purchasers
• parents who encourage their children into learning music
• teachers who support music education in their schools
• Music education as foundation for lifelong engagement
When do musical life stories begin?
• Influence of the home and family – context for school provision
• Research on how much musical experience and expertise children already
have when they begin formal education
• “familiarity with the rich world of children’s musical experience outside school is
requisite teacher knowledge when planning formal instruction”
(Harwood and Marsh, 2012)
• Transition points inhibit musical continuity – primary-secondary school
transition, choices at university level, joining ensembles as an adult
• Patterns of engagement are not guaranteed or predictable:
• “[My parents] bought me a flute when I asked, so I suppose that set me off to where
I am today, but they also bought me a bike, and I’m not in the Tour de France.”
(Gavin, 2001)
Expectations and experiences of music
A case study from three Sheffield infant schools
• Children aged 6-7 participating in music workshops in three
Sheffield schools, led by Polly Ives (Music in the Round)
• Three blocks of weekly visits by workshop leader and
professional musicians, leading to a families/schools concert of
Sir Scallywag and the Golden Underpants, by children’s
composer in residence, Paul Rissmann, and a jointly composed
soundtrack to We’re Going on a Bear Hunt
• Research carried out with full range of participants:
• Observations of sessions and events [12 x 45 minutes]
• Questionnaires and group interviews with children [n = 163]
• Questionnaires and interviews with teachers [n = 6]
• Questionnaires and group interviews with parents [n = 27]
Children’s views of themselves as musicians
• Learning instruments takes effort: “it took me a
year to get up to the grade of Yankee Doodle
already” (M-PFG); “I’ve got a recorder but I only
know one letter and that’s ‘A’” (J-PFG)
• Being a musician involves planning: “play a song
on my piano” in primary school, “be in a band” in
secondary school, then “be world famoz
[famous]” (J-PQJ)
• Learning music requires continuity and challenge:
“a man came with a guitar, a long, long time ago”
(F-PFG); excitement “cause we might do more
new stuff that we haven’t done” (F-PFG)
Musical life stories begin…
• …with the provision of musical opportunities and the consistent
encouragement to pursue them
• …with the widening of musical horizons and ambitions
• …with the acquisition of musical skills, knowledge and confidence
• …with the provision of musical role models, including teachers and
parents
• …with the enjoyment of music, shared with others

• Or with the absence of some or all of these factors…

Musical life histories continue…
• …with deliberate engagement in musical activities
• …with an eagerness to learn and develop, and the resources and
opportunities to do so
• …in an environment which feels comfortable and welcoming
• …with the enjoyment of music, shared with others

• …but only for those who seek out opportunities and are already
persuaded of the value of musical participation
Musical life stories falter…
• …when musical opportunities do not match expectations
• …when musical skills prove to have weak foundations
• …when the enjoyment of music is lost amongst other pressures
or self-doubts
• …when routes back in to musical participation seem difficult or
inaccessible

• …but challenges can be overcome through rediscovering the

encouragement, role modelling, and skill development that
were critical at the start of a musical life story
Some conclusions and implications
• Access to lifelong musical participation begins in childhood – shaped
(but not guaranteed) by encouragement, opportunity, attitudes, skill
development
• Awareness of musical routes forward is essential to finding them –
importance of connecting formative music-making with future
possibilities
• Articulation of musical aims and benefits can be helpful in recognising
them – making sense of musical life stories helps to reinforce musical
identity; this could be a tool for effective music education
So what is music education for?
• Leaving opportunities open, not closing them
down – through skills, attitudes, expectations
and experiences
• Making connections between school music and
the wider ‘art world’
• Offering routes and role models for lifelong
engagement
• Access, awareness, articulation – promoting and
demonstrating the impact of music education
for individuals, communities and society